Far be it from me to revive this thread once more, but following the well-received forays into documentary for Scorsese (No Direction Home & the Blues), does anyone think he might achieve greater success in that environment now, artistically and (perhaps) commercially. It certainly wouldn't be the first time a wellregarded director has made the transition for fulltime: Herzog's wildlife documentaries (most notably Grizzly Man, which I really want to see) have all been as interesting and strangely obsessive (if slightly more lowkey) as his earlier feature work. And of course, there is Wim Wenders, whose best film in the last 10 years was probably Beuna Vista Social Club.
Or is this theory a bit too frivolous?
Fave 70's "New Hollywood" director
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The Right Summery Profile wrote:Far be it from me to revive this thread once more, but following the well-received forays into documentary for Scorsese (No Direction Home & the Blues), does anyone think he might achieve greater success in that environment now, artistically and (perhaps) commercially. It certainly wouldn't be the first time a wellregarded director has made the transition for fulltime: Herzog's wildlife documentaries (most notably Grizzly Man, which I really want to see) have all been as interesting and strangely obsessive (if slightly more lowkey) as his earlier feature work. And of course, there is Wim Wenders, whose best film in the last 10 years was probably Beuna Vista Social Club.
Or is this theory a bit too frivolous?
These documentaries haven't been particularly gorund-breaking though. They're safe projects in a way.
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The Modernist
The Right Summery Profile wrote:Far be it from me to revive this thread once more, but following the well-received forays into documentary for Scorsese (No Direction Home & the Blues), does anyone think he might achieve greater success in that environment now, artistically and (perhaps) commercially. It certainly wouldn't be the first time a wellregarded director has made the transition for fulltime: Herzog's wildlife documentaries (most notably Grizzly Man, which I really want to see) have all been as interesting and strangely obsessive (if slightly more lowkey) as his earlier feature work. And of course, there is Wim Wenders, whose best film in the last 10 years was probably Beuna Vista Social Club.
Or is this theory a bit too frivolous?
These documentaries haven't been particularly gorund-breaking though. They're safe projects in a way.
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El Modernista wrote:
These documentaries haven't been particularly gorund-breaking though. They're safe projects in a way.
Have you seen Grizzly Man, out of curiosity? If anything it's closer to the stuff that Herzog did with Kisinki in terms of its themes and the sheer obsessiveness of the subject (and the director, it has to be said) than say, Scorsese's approach to his docos, which admittedly is safe. Actually Scorsese's job was already halfdone by Pennenbaker anyway, although he did do very well in putting the footage altogether. The Herzog docos are a different kettle of fish entirely, mind.
I do think that would be a better venue for the guy's talents now though, the Aviator showed how tired his filmmaking has become. Slick, solid, well performed, sure, but I can't help but feel that there's a better, nastier film about Howard Hughes to be made.
James Ellroy's American Tabloid really needs to be adapted, it's a vicious, criss-crossing bastard of a novel, taking onboard, the Kennedy family, Hoover, the CIA, Jimmy Hoffa and the Teamsters, Hughes, the LAPD, and the criminal underworld in etween. You'd have to streamline it to hell, and get the right actors for the jo (Roert Downey Jr would make a great Kemper Boyd), but there's an hand grenade of an adaptation to be done.
It's before my time but I've been told, he never came back from Karangahape Road.
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El Penk en el Ojo wrote:Michael Cimino may have directed The Deer Hunter, which in my opinion is as close as anything to the greatest film of all time, but, let's be honest here, he did fuck all else. Likewise, while Scorsese did make a couple of great films in the 70s, there's also some of his work which does nothing for me.
For me, Coppola is the only one on the list who made nothing but great films in the 70s.
I concur on every point. There isn't one of those directors, save Coppola, whose work I look (or looked) forward to seeing. For that reason, I haven't seen everything every one of those directors...directed, but I don't think I'm missing anything based on what I have seen and read.
I go back and forth on Spielberg, for that matter, but always have admired his craft. I enjoy hearing Scorsese discussing film so much, it's especially disappointing to me that I'm not knocked out more by his films I've seen -- though I liked Taxi Driver and King of Comedy OK, I've no intrest in seeing them again.
'
Altman just pisses me off, he's so full of himself.
I'd be vaguely interested in seeing Heaven's Gate, though. The only time I saw it was the long version, when it first opened. I recall liking it more than the studio evidently did!
Does Walter Hill qualify? He probably came along a bit later (I'm not looking him up for thisl; just musing).
Things that a fella can't forget...
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Actually, looking back at the thread, I was curious that one particular point hasn't been raised. Namely, which director has come out of that period with their dignity and some artistic merit intact. I would suppose that Robert Altman is the most consistent out of them, though if I'm perfectly honest, I'm finding his multiple-essemble increasingly mannered and unbelievable. That said, I'll probably see A Praire Home Companion, even if it is going to be a merely minor picture alongside former towering heights of Nashville, etc.
Actually, Herzog--though having absolutely nothing to do with them--is probably more fascinating than any of the former "New Hollywood" directors now. His documentaries, intentionally or otherwise, seem to continue his explorations into the minds of deeply obsessive and conflicted people- there's something about Grizzly Man's self-examination which is both frightening and quite liberating. That its subject was something of a basket case made things interesting, too.
That said, I am interested in De Palma's adaptation of the Black Dhalia, if only because I'm a huge fan of James Elroy. American Tabloid is the better book, mind.
Actually, Herzog--though having absolutely nothing to do with them--is probably more fascinating than any of the former "New Hollywood" directors now. His documentaries, intentionally or otherwise, seem to continue his explorations into the minds of deeply obsessive and conflicted people- there's something about Grizzly Man's self-examination which is both frightening and quite liberating. That its subject was something of a basket case made things interesting, too.
That said, I am interested in De Palma's adaptation of the Black Dhalia, if only because I'm a huge fan of James Elroy. American Tabloid is the better book, mind.
It's before my time but I've been told, he never came back from Karangahape Road.
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Baron wrote:I actually enjoy the more recent Altman more than what I've seen from the seventies
Well, that was a stupid thing to say.
It's now tied for me between Malick and Altman.
take5_d_shorterer wrote:If John Bonham simply didn't listen to enough Tommy Johnson or Blind Willie Mctell, that's his doing.
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Talking of maverick directors, it was in the news this week that Monte Hellman's oddball classic The Cockfighter starring Warren Oates has been permanently banned in Britain because of some animal rights legislation.
It's absurd, the film's over 40 years old. Are they going to ban John Ford westerns next because of cruelty to horses.
It's absurd, the film's over 40 years old. Are they going to ban John Ford westerns next because of cruelty to horses.
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The Unique Modernist! wrote:Talking of maverick directors, it was in the news this week that Monte Hellman's oddball classic The Cockfighter starring Warren Oates has been permanently banned in Britain because of some animal rights legislation.
It's absurd, the film's over 40 years old. Are they going to ban John Ford westerns next because of cruelty to horses.
I swear to God it wouldn't surprise me in the least if they did.
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Baron wrote:Baron wrote:I actually enjoy the more recent Altman more than what I've seen from the seventies
Well, that was a stupid thing to say.
It's now tied for me between Malick and Altman.
Malick's been very astute in keeping his legacy in tact by not doing anything!
I find him a fascinating guy, I think we're due a new one sometime in the next few years.
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The Unique Modernist! wrote:Baron wrote:Baron wrote:I actually enjoy the more recent Altman more than what I've seen from the seventies
Well, that was a stupid thing to say.
It's now tied for me between Malick and Altman.
Malick's been very astute in keeping his legacy in tact by not doing anything!
I find him a fascinating guy, I think we're due a new one sometime in the next few years.
I thought one just came out. Or got shelved or something.
yet another genius from Texas
take5_d_shorterer wrote:If John Bonham simply didn't listen to enough Tommy Johnson or Blind Willie Mctell, that's his doing.
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Son of Schmeelock wrote:his Pocohantas movie?
that's on my pay per view now.
I plan to see it but it's gonna be tough for me to watch on t.v.
I usually make an effort to see his movies on a big screen but I guess I'm not trying as hard.
Yeah. The New World.
take5_d_shorterer wrote:If John Bonham simply didn't listen to enough Tommy Johnson or Blind Willie Mctell, that's his doing.
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The Unique Modernist! wrote:What happened? I can't believe a new Malick movie couldn't get a distribution deal.
Here's a preview of a story that you'll have to subscribe to Texas Monthly to read.
take5_d_shorterer wrote:If John Bonham simply didn't listen to enough Tommy Johnson or Blind Willie Mctell, that's his doing.
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see, now I wish I hadn't read that. now I might need to wait for a DVD.
or a personal screening. or hell to freeze over.
I knew a fancy-pants writer and his fancy-pants wife who got to go to a screening of a 4 hour version of 'thin red line'. they, of course, said that simply everybody thought it was simply dreadful but they were just too motherfucking polite to get up and walk out.
I told them I'd like to see it and they both snorted out of their noses like horses.
something tells me his distributor did something like that.
or a personal screening. or hell to freeze over.
I knew a fancy-pants writer and his fancy-pants wife who got to go to a screening of a 4 hour version of 'thin red line'. they, of course, said that simply everybody thought it was simply dreadful but they were just too motherfucking polite to get up and walk out.
I told them I'd like to see it and they both snorted out of their noses like horses.
something tells me his distributor did something like that.